Methamphetamine destroys families, and the soul of a culture that struggles to take care of its children. In Apache County, Arizona, where Concho is a tiny enclave of extraordinary beauty and American history of Mexicans and American Indians, the town in, “Meth Moon: To Hell and Back,” is compromised with drugs. Meth labs grow in places where the drug can be produced easily. These situations are supported by the beauty of this world turned inside out. Ironically, a dark, moonless night can provide the secret environment the meth user, manufacturer, and distributor needs. “Meth Moon: To Hell and Back,” tells the story of how two childhood friends become men and are on different sides of the law.
While the friends, Johnny and Frankman define their lives by either living with or without drugs, a coyote, Dirt-Between-the-Paws, enters their lives. The language of nature and what is just versus what the evil drug world can do to good people, is spoken from the world of the coyote. The mother of all coyote’s, Dirt-Between-the-Paws, speaks. She quietly leads and she forgives. Similar to the children who are born of meth addicted mothers, Dirt-Between-the-Paws is an innocent bystander who gives us life lessons.
“Meth Moon: To Hell and Back,” takes us on a journey of beauty and treachery. It reminds us to protect children who are at minimal entitled to come into the world healthy. When a mother uses drugs and compromises the growing baby inside her, she should be held accountable. As of this writing, Tennessee is the only state in America that will prosecute the mother when the child is born mentally or physically challenged because she used drugs. In April, 2014, according to, Counsel and Heal News, “The state's governor, Bill Haslam (R), signed a bill into law making Tennessee the first in the country to arrest and incarcerate pregnant women who use drugs during their pregnancy that negatively affect the fetus.” Currently, Arizona has no laws to protect its unborn children from the impact of drug use while in utero.
--Kareena Maxwell, 2015